AGNéS THURNAUER...Samostatné výstavy (výber) / Solo exhibitions (selection) 2016 Une histoire de la peinture, Château de Montsoreau, zbierka /collection Phlippe

AGNÈS THURNAUERKrajina a jazyk / Land and Language

Kurátorka / Curator: Mira Sikorová-Putišová

Trvanie výstavy / Duration:8. december 2016 – 29. január 2017December 8th 2016 – January 29th 2017

OTVORENIE / OPENING7. decembra 2016 od 18:00 do 20:00 hod. December 7th 2016 from 6 until 8 pm

Agn

ès T

hurn

auer

: Po

rtrét

v živo

tnej

veľk

osti

(Mar

celle

Duch

amp)

, 200

9, ep

oxido

vá ži

vica

a far

ba, z

bierk

a Cen

tre Po

mpido

u v Pa

ríži, f

oto:

Fran

çois

Fern

ande

zA

gnès

Thu

rnau

er:

Portr

ait G

rand

eur N

atur

e (M

arcel

le Du

cham

p), 2

009,

epo

xy r

esin

an

d colo

r, coll

ectio

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entre

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idou i

n Par

is, ph

oto b

y Fra

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ande

z

Kunsthalle BratislavaNám. SNP 12, 811 06 Bratislava, Slovenská republikawww.kunsthallebratislava.sk

Spoluorganizátori výstavyCo-organizators of the exhibition

Partner výstavyPartner of the exhibition

Sam

osta

tné

výst

avy

(výb

er) /

Solo

exh

ibiti

ons (

sele

ctio

n)

2016

Un

e hist

oire d

e la

pein

ture

, Châ

teau

de

Mon

tsor

eau,

zbi

erka

/co

llect

ion

Phlip

pe

Méa

ille

Pr

égu

rer, G

aler

ie F

erna

nd L

éger

, Iv

ry-s

ur-S

eine

2015

Yo

u, J

esus

Col

lege

, Cam

brid

ge, U

K

(kur

átor

/ c

urat

or R

oder

ick

Men

gham

)

Stud

io as

Perfo

rman

ce, G

aler

ie V

aler

ie

Bach

, Bru

sel /

Bru

xelle

s (ku

ráto

rka

/ cu

rato

r Ele

na S

orok

ina)

2014

ig

ure l

ibre,

Le R

adar

, Bay

eux

Now,

Whe

n, T

hen,

Mus

ée d

es B

eaux

-ar

ts d

e N

ante

s (ku

ráto

rky

/ cu

rato

rs

Cath

erin

e Gr

enie

r, Bl

andi

ne C

hava

nne)

Sl

eepw

alker

, Gal

erie

de

Rous

san

(k

urát

orka

/ cu

rato

r Jill

Silv

erm

an v

an

Coen

egra

cht)

2013

a

rdin

de la

ngag

e, Fo

ndat

ion

Salin

ger,

Le T

hor,

Fran

cúzs

ko /

Fra

nce

2011

M

anife

stem

ent,

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ce d

’art

con

tem

pora

-in

And

ré M

alra

ux, C

olm

ar

erb

e su

jet et

comp

lémen

ts, Im

man

ence

, Pa

ríž

Paris

2010

M

ay I?

, Phi

lippe

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hur

naue

r

ngers

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ts d

’Ang

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Ange

rs (k

urát

orka

/ c

ura-

tor A

nn H

indr

y)20

08

Portr

aits

Gran

deur

Nat

ure,

Gale

rie A

nne

de

illepo

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ríž

Paris

2007

ra

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bia, C

CC, T

ours

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en fa

ite, m

al fa

ite, p

as fa

ite, S

MAK

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nt, B

elgi

cko

/ Be

lgiq

ue (k

urát

or /

cura

tor P

hilip

pe V

an C

aute

ren)

2006

Ar

ound

a R

ound

, Gal

erie

Ghi

slain

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seno

t, Pa

ríž

Paris

2004

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n’t pr

etend

you’r

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er h

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of it

, Sp

ringh

ornh

of, N

euek

irche

n, N

emec

ko /

Ge

rman

y 20

03

Les c

ircon

stanc

es ne

sont

pas a

tténu

antes

, Pa

lais d

e ok

yo, P

aríž

Paris

kur

átori

cu

rato

rs N

icol

as B

ourr

iaud

and

Jér

ôme

Sans

)

Mai

nten

ant a

vant

apr

ès, G

aler

ie G

hisla

ine

usse

not,

Paríž

Pa

ris

AGNÈ

S THU

RNAU

ER (*

1962

)

Skup

inov

é vý

stav

y (v

ýber

) /Gr

oup

exhi

bitio

ns (s

elec

tion)

2016

Dé

pens

es, L

aban

que,

Bet

hune

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átor

ka

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rato

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Bism

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uvel

accro

chag

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usée

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ar (k

urát

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ator

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trav

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urát

orka

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Bism

uth)

W

omen

on pa

per,

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y Ga

llery

, Br

atisl

ava

(kur

átor

ka /

cur

ator

Nad

ine

Gand

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ésir,

Mus

ée G

usta

ve

Cour

bet,

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ans

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rl,

alerie

Perro

tin, P

aríž

Paris

2013

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nch

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rt,

USA

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urat

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zília

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rasil

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átor

ky /

cura

tors

Cec

ile D

ebra

y, Em

ma

Lavi

gne)

2012

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aisir

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ranc

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la R

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ours,

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u, A

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ité du

lang

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atio

n ipp

ocr

ne, P

aríž

Paris

kur

átork

a cu

rato

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nette

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inge

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2010

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ssins

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ande

larg

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e Fr

ance

, Par

íž Pa

ris

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lden

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ry,

mman

ence

, Par

íž Pa

ris

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ell

es@ce

ntre

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pido

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entr

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orge

s Po

mpido

u, Pa

ríž

Paris

kur

átork

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r Cam

ille

Mor

inea

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teli

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tes et

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ieux d

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Cent

re P

ompi

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Mus

ée N

atio

nal d

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od

erne

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íž Pa

ris

De le

ur te

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onte

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rain

et

colle

ctio

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s, M

usée

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oble

, Gr

enob

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Paríž

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acue

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ves i

n Par

is an

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ks in

vry

Foto: archív autorky / Photo: archive of the artist

ww

w.ag

nest

hurn

auer

.net

utor

ka by

rada

pec

iálne

poak

ovala

ad

ine

andy

, an

dy a

llery

Th

e ar

tist w

ould

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to sp

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lly th

ank

to N

adin

e Ga

ndy,

Gand

y ga

llery

ažiskom prezentácie franc zsko va iarske au torky n s hurnauer e s ria rozmern ch okr h lych obrazov ob ektov Portraits Grandeur Natu-re 200 2009 , ktor prezentovala a v Centre Pompidou v Paríži h adiska komunikácie v stavy smerom von, ak vezmeme do vahy, že e v bec nie nepodstatnou zložkou e prí ažliv vizuálne vyznenie diel, má ancu spe ne prekonáva prirodzen bari ru medzi uzavret m priestorom prezentácie a vonka ím vere n m priestorom árove tiež v s vislosti s miestom svo e realizácie unsthalle

ratislava a na základe charakteru vybrane kolekcie prác ako konkr tneho v seku z tvorby umelkyne , e pomerne vo ne a rozhodne nie zámerne al ou v stavou v e predstavu cou umenie, ktor m žeme priradi a do oblasti rea u

ce na problematiku feminizmu a otázok endrov ho umenia ke v prípade dan ho se mentu diel, na rozdiel od charakteru prác na spomínane v stave, kde ednotlivo komunikovali obsahy subektívne rea u ce na problematiku aplikácie rodov ho poh adu v s asne spolo nosti i z pozície mužov umelcov , sa u n s hurnauer dot ka

lobalizovane t my nerovnosti zast penia žien a mužov v hist rii v tvarn ho umenia Primárne rozk dovanie diel s rie tla idiel s menami akoby žensk ch náprotivkov , i variácií alebo prepisov mien mužov v tvarníkovosobností de ín umenia 20 storo ia, naoza odkazu e na viackrát teoreticky artikulovan diskurz tzv písania hist rie umenia cez diela realizovan mužmi, resp mužskou optikou 2, ktor e a v prípade prezentovan ch diel autorky ich základnou bázou

b ekty ma vyslovene minimalizovan tvaroslovie ednoduch kruhov tvar nadrozmerne o ovky

s d razom na precízne vypracovanie smeru ce k tvarov mu purizmu, ktor e v ak v tomto prípade v povedne í viac než ktoráko vek iná forma a dernos ou m že by blízka i strat ii reklamnho slo anu, v ktorom b va komprimovan komunikovan obsah ležit m aspektom e a samotn tvar okr hly závesn ob ekt ako al zia portr tu, v tomto prípade sk r zastupu ceho ako zobrazu

e to t me bola venovaná v stava Fem(inist) Fatale v unsthalle ratislava 20 9 202 de predov etk m o ese indy ochlinove Why There Have Been No Great Women Artists? 9 a publikáciu osziky Parkerove a riseldy Pollockove Old Mistress: Women, Art and Ideology

9 iac: Foster, al rauss, osalind ois, ve lain uchloch, en amin : m n po roce Modernizmus antimodernizmus postmodernizmus Praha: lovart, 200 , s 2 ien faite mal faite pas faite Well done, badly done, not done , tedeli k useum voor ctuele unst ent, 2 20 200

ceho ktívnu postavu: napr arcelle uchamp, nnie arhol, os phine euys, ac ueline Pollock veden meno sa tak stáva symbolom neexistu ce

skuto nosti, kde za menom postavy e podobne zak dovan a odkaz na práce v tvarn ho umenia, na základe ktor ch by sme hypoteticky mohli písa in de iny umenia, ako poznáme akáto verzia portr tu, kde sa inte ru e vytváranie opozita vo i v eobecne známe skuto nosti s popieraním eho základne funkcie, ke že symbolicky prezentu e nie o, o nikdy nebolo, e základn m kon truktom te to s rie a naoza m že by i v chodiskom pre interpretáciu z h adiska in titucionálne kritiky i kritiky umelecke prevádzky Príkladom tak hoto prístupu bola e star ia v stava Bien faite, mal faite pas faite v ente , kde v tvarní ka v interi ri budovy m zea umenia aplikovala na steny mená ktívnych žien v tvarní ok ako ur it ch alter e o nielen známych umelcov, ale a mužov z hist rie kult ry a lozo e Prítomná kolekcia Portraits Grandeur Nature v ak priná a d ležit nadstavbu v ponímaní n s hurnauer nie e len snahou o vytváranie exaktne formulovan ch na základe typolie mena žensk ch opozít v zmysle kritick ho pre

hodnocovania písania de ín umenia, ale a vedomím zne as ovaním endrov ho ítania t chto de ín, a to prostredníctvom takto vytvárane kcie, kde v ak vieme spo ahlivo od íta e v chodiská tázkou, ktor autorka danou s riou nasto u e a v podstate na základe ne bola i zostavená kolek

cia, ktorou sa prezentu e na v stave , e a to, do ake miery e aspekt rodu endru d ležit pri percepcii ma by umenia divákom ležit rolu tu zohráva prítomn princíp ne zobrazovania ob ekty s rie portr tov s sk r manifestáciou symbolick ho zast penia ktívne skuto nosti, ako tradi n mi maliarskymi formátmi príslu nou naráciou, na ktore v sledne podobe a obsahu sa pod a autorky vždy v razne podie a a divák svo ím vnímaním ak sa vtvarn umenie ma ba, ktorá e dom nou e tvorby, pre u stáva predov etk m aspektom, ktor determinu e ich vzá omn vz ah a primárne nemusí podlieha kate orizácii interpretácii na základe rodov ch

krit rií preto ur it m subverzívnym sp sobom má v kolekcii Portraits Grandeur Nature svo e miesto a verzia mužsk ho náprotivku mena umelkyne ouise our eois do podoby ouis our eois

ealizácia XX story od r 200 e dlhodobá práca v procese , vychádza ca z podobne bázy

ako s ria portr tov ednou z e verzií e a ve k formát plátna, pozostáva ci zo žensk ch foriem mien popredn ch umelcov z hist rie umenia od do storo ia realizovan ch v kresbe e v bec prvou, kde autorka za ala rea ova na otázku rodu v hist rii umenia a t to líniu postupne rozpracovala vo viacer ch m diách krem prítomn ch tlaidiel sa priebežne ob avu e v ma be, pro ektoch

na báze textu a ob ektoch ko ist , v prvom pláne formálny, pendant tohto diela, v zmysle narácie resp komunikácie prostredníctvom textu azyka, vystupu e s ria matríc písmen abecedy MatriceSol 20 , tvarovan ch reverzne dut m ob emom, ktorou autorka demon tru e fakt, že umenie e v prvom rade otázkou ítania, interpretácie a azyka a tieto zložky s nestále a premenliv a vždy s enerovan do nove podoby edna z posledn ch autorkin ch prác ma ba Land and Language 20 , e ist m sp sobom lo ick m vy stením e dlhodob ho zau atia vz ahom azyka a umenia, kde text e d ležit m nástro om nielen kreovania, ale a komunikácie a interpretácie emon tru e al iu sf ru e záu mu venovan problematike mi rácie, nielen v zmysle fyzicke , ale predov etk m mentálne aktivity aoberá sa t m, ak m sp sobom sme takto schopní mi rova z edn ho azyka do druh ho, ak li

mity a obmedzenia priná a táto mi rácia ná mu vedomiu a ak s e možn d sledky

Mira Sikorová-Putišovákurátorka v stavy

he core of the presentation of n s hurnauer, a French iss author, is a series of oversized round paintin s ob ects, Portraits Grandeur Nature 200 2009 , hich she also presented at Cen

tre Pompidou in Paris n terms of the exhibition communication to the outside orld, iven that its components, by far not non essential, is the attractive visual representation of orks, stands a ood chance of overcomin the natural barrier bet een the closed space of the presentation and the public exterior t the same time also in connection

ith the venue of the exhibition unsthalle ratislava and due to the character of the selected orks as a speci c section of the author s creative ork , it is a relatively freely, de nitely not inten

tionally set up exhibition in the representin the kind of art hich could also be assi ned the attributes of the area reactin to the issues of feminism as ell as ender art lthou h in case of the iven se ment of

orks, contrary to the character of orks presented at the above mentioned exhibition here they individually communicated the contents sub ectively reactin to the theme of the current vie of ender application, also from the point of vie of male artists , n s hurnauer touches upon the lo

balized topic the disparity of omen and men represented in the history of ne arts he primary decodin of the orks a series of buttons ith names of, as if, their female opposites , or variations or transcripts of male artists names personalities of 20th century art history, really refers to the discourse, my times theoretically articulated, of the so called ritin of art history throu h orks created by men, or throu h the male optics 2, hich is, also in case of the presented

orks of the female artist, their fundamental base he ob ects have an expressly minimized morpho

lo y a simple round shape of an oversized lens emphasizin the precise elaboration leadin to form purism, hich, thou h, in this case is more statement expressive than any other form and by its char in impact it can also be close to the strate y of an advertisement slo an hich usually carries a compressed contents to be communicated n important aspect is represented also by the form itself a round suspended ob ect as an allu

his topic as addressed by the exhibition Fem(inist) Fatale in unsthalle ratislava 20 9 202 t mainly concerns the essay by inda ochlin Why There Have Been No Great Women Artists? 9 as ell as the publication by oszika Parker and riselda Pollock Old Mistress: Women,

Art and Ideology 9 ore: Foster, al rauss, osalind ois, ve lain uchloch, en amin : m n po roce Modernizmus antimodernizmus postmodernizmus Praha: lovart, 200 , p 2

ien faite mal faite pas faite ell done, badly done, not done , tedeli k useum voor ctuele unst ent, 2 20 200

sion of a portrait, in this case rather substitutin than representin a ctitious ure: e arcelle

uchamp, nnie arhol, os phine euys, ac ueline Pollock he iven name thus becomes a symbol of a non existent reality in hich, behind the name of a ure, there is also a coded reference to the art orks on hich e could hypothetically

rite a history of art other than the one e kno his version of the portrait in hich the creation of an opposite a ainst the enerally kno n reality defyin its basic function is inte rated, since it symbolically presents somethin hat that has never been before, is the basic construction component of this series and really it can also be the basis for an interpretation from the perspective of the institutional criti ue or that of an artistic operation

n example of such an approach is her previous exhibition ien faite mal faite pas faite in ent

here the artist applied the names of ctitious female artists as certain alter e os of not only reputed artists, but also of some men from the history of culture and philosophy, on the alls ithin the buildin interior he present collection Portraits Grandeur Nature nevertheless brin s alon a si ni

cant superstructure in the perception of n s hurnauer it is not only an effort to create exactly

formulated based on the name typolo y female opposites in the sense of critical reassessment of art history ritin , but also a deliberate blurrin of ender readin of this history, namely by means of ction created in this ay, the sources of hich e

can ho ever read reliably he uestion posed by the artist throu h this series and the collection presented at the exhibition as actually based on it too , is also to hat extent the ender aspect is important in perceivin the paintin art by vie ers ere, a si ni cant role is played by the present principle of non depiction the ob ects of the series of portraits are a manifes

tation of a symbolic substitution of a ctitious reality rather than traditional paintin formats throu h a relevant narration, hose nal shape and contents, accordin to the artist are also considerably affected by the participation of the vie er throu h his her perception hus ne arts paintin , hich represents the realm of her ork, for her becomes principally the aspect determinin their mutual re

lationship and primarily does not have to be subordinate to cate orization interpretation on the basis of ender criteria For this reason, too in a certain subversive manner the collection Portraits Gran-deur Nature also provides space for the version of the male opposite of ouise our eois s name in the form of ouis our eois he execution of the XX story since 200 is a lon term ork in pro ress , hich derives from the basis similar to the portrait series ne of its versions includes a bi canvas format consistin of the female name forms of some ell kno n artists of art history from the 2th to 20th centuries implemented as a dra in t is actually the rst ork

hereby the artist be an to react to the ender issue in art history radually developin this line in several media esides the present buttons it continuously appears in the paintin s and pro ects,

hich are based on text and ob ects s a certain, initially formal pendant to this ork, in terms of narration or communication by means of textlan ua e, there is the series of rids of alphabet letters Matrice ol 20 , shaped in a reverse order by the hollo volume hereby the artist demonstrates the fact that art is rst of all a matter of readin , interpretation and lan ua e and these components are in constant and variable movement and they are al ays enerated into a ne form ne of the recent artist s orks, the paintin Land and Language 20 , to a certain extent, represents a lo ical outcome of her lon term interest in lan ua e and art here the text is an important tool of not only creation, but also communication and interpretation t demonstrates another sphere of her interest dedicated to the topic of mi ration, not only in the sense of physical, but mainly mental activity he deals ith the issue of ho e are able to mi rate from one lan ua e to another, hat limits and restrictions this mi ration brin s alon to our consciousness, and hat its conse uences may be

Mira Sikorová-Putišováexhibition curator

AGNÈ

S THU

RNAU

ERra

ina a

azyk

an

d and

an

uae n s hurnauer: Matrica

podlaha, 20 , akrylová živica, zbierka zea v tvarn ch umení v antes, foto: ean ichel lbert

n s hurnauer: MatriceSol, 20 , acrylic resin, collection of us e des beaux arts de antes, photo: ean ichel lbert

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AGNÈS THURNAUERK

rajina a jazyk / Land and Language

Kurátorka / Curator: Mira Sikorová-Putišová

Trvanie výstavy / Duration:8. decem

ber 2016 – 29. január 2017 D

ecember 8

th 2016 – January 29th 2017

OTVORENÉ / OPENPon: 12:00 – 19:00 / M

on: 12 pm – 7 pm

Uto: zatvorené / Tue: closed

Str: 13:00 – 20:00 / Wed: 1 pm

– 8 pmŠtv – N

ed: 12:00 – 19:00 / Thu – Sun: 12 pm

– 7 pm

stup von

Free entry

Kunsthalle BratislavaN

ám. SN

P 12, 811 06 Bratislava

Slovenská republika

poluoranizátori v

stavyCo-organizators of the exhibition

Partner vstavy

Partner of the exhibition

ww

w.kunsthallebratislava.sk